ARGI E BA NDOY FAUZ ULYU SR LYLE BUEN I CAM NILO INO IL NORB ARDE ERTO ROLD AN
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SEAH
Y DO AN RI O B IN S E GI LYU CAM R U EN A AN UZ FA E BU RDE OLD A L LY O IL TO R L R NI RBE O N
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OY ND I O A R IN E B YUS AM I G C L AN AR UZU UEN E LD D FA LE B AR RO L LY O I RTO L NI RBE NO
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ARGIE BANDOY FAUZULYUSRI LYLE BUENCAMINO NILO ILARDE NORBERTO ROLDAN
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ZELIN SEAH
argie bandoy (b. 1973, Philippines)upon graduating from the University of the East, College of Fine Arts, Manila, Bandoy established his presence in the local art community as a painter whose nihilistic gestural abstractions and figurations continue to challenge the norm; both in the experiments he did in the painting process, and the philosophical and intellectual discussion brought up by his selection of subject matters. Bandoy has participated in several group shows including Freies Museum Berlin, Germany; TATE Modern London, UK; Green Papaya Art Projects, Manila, Philippines; MOP Gallery 1 Sydney, Australia; National Museum, Philippines; Cultural Center of the Philippines; and Hong Kong Cultural Center among others.
fauzulyusri About The Artwork Argie Bandoy’s paintings are spontaneous layers of imagery within the space of canvas, where his layered visual accidents and abstractions playfully mock modern history. Bandoy works mainly with paint on canvas, but also uses experimental methods to achieve the end result. He often includes discarded objects in his work to lend the paintings a grotesque sense of reality.
Born in 1974, Kedah, Malaysia. The work of this UiTM Shah Alam graduate has been consistently strong over his decade-long career, with 6 solo exhibitions and countless group exhibitions to his name. He was featured in WARNA (Hong Kong’s contemporary art exhibition) as one of five prominent expressionist artists from Malaysia. His ability to pragmatically push his painting in new directions while maintaining a vocabulary of individual markmaking has arrived at a mature expression.
lyle buencamino About The Artwork Fauzulyusri’s new series of paintings explore flat colors and heavy texture with candid gestures reminiscent of the abstract expressionists. When juxtaposed with his signature figures, the text and geometric abstractions also suggest the urbanity of graffiti. Fauzulyusri’s approach makes use of the imperfect text to build complexity in contrast to his deliberate use of flat colors that, combined with aggressive spontaneous strokes, lend a balance of conflicting narratives. Fauzulyusri’s gestural configurations give way to the characteristics of his chosen medium while allowing the bold compositional elements in his work to struggle for dominance. In doing so, the artist reveals to his audience his interpretation of the way people live in the face of continuing modernity.
(b. 1978, Philippines) graduated from University of the Philippines College of Fine Arts with Bachelor in Fine Arts majoring in Painting in 2005. His first solo exhibition A Bowtie for John Lyle (2006) received International Studio Residency Grant from Ateneo Art Awards (2007), which granted him an artist residency in a studio in La Trobe University in Bendigo, Australia. Buencamino’s works had been included in numerous group exhibitions since 2003, most notably Deleted Scenes at Lopez Museum Manila, in which he began his series of large scale paintings of vintage movie stills from Lopez Museum Foundation. Lyle Buencamino is currently based in Singapore.
About The Artwork Money-face (Mukang Pera) derives from the No Fighting in the Museum image series which Buencamino has been working on for the past 5 years. The series uses production stills from movies of the now defunct LVN Studios, which the artist gained access to courtesy of the Lopez Museum that had acquired LVN’s complete archives. Buencamino’s work is often context-driven, as in the case of No Fighting in the Museum where the piece is only fully realised when exhibited in a museum. This scene is ubiquitous in old Filipino movies - that pivotal moment when a character is slapped across the face with a wad of money in public. The collective psychology moulded by this image is equally violent as it is triumphant. In the painting, it is not clear whether the one doing the slapping is the “protagonist” or “antagonist”. This ambiguity
lends itself to both readings. The title Money-face (Mukang Pera) is a literal translation of the Tagalog expression into English. Buencamino has been moving toward a direction where language becomes purposefully problematic, that instead of helping to describe the work, it helps it fall to pieces. The title could refer to anyone, including the artist himself whose works often begin as a kind of solipsistic dialogue.
nilo ilarde Born in 1960, graduated from University of the Philippines College of Fine Arts with Bachelor in Fine Arts majoring in Painting. Since 1978 to date, Ilarde has participated in various group exhibitions, and mounted his solo exhibitions in numerous venues in the Philippines. From 1984 to 1985 Ilarde was the exhibition director of Pinaglabanan Galleries in San Juan, Manila; and since 1980 till now he has been actively working as a guest-curator and curator of various exhibitions at Cultural Center of the Philippines, Manila, University of the Philippines College of Fine Arts, West Gallery, Finale Art Gallery, and many others. Nilo Ilarde was the recipient of CommendedYoung Arts in Asia Now (1980) from Hong Kong Art Center, and Winner-Painting Category (1981) from Art Association of the Philippines. Nilo Ilarde lives and works in Manila, Philippines.
About the Artwork Nilo Ilarde creates his collages by putting together materials that are commonly used in artistic production; including drawing tools such as pencils, rulers, and other measuring implements. These are juxtaposed with other found objects that relate to the reproduction of visual imagery. He piles on thick layers of paint, sometimes fresh from the tube, other times spread flat in a sweeping gesture that allows the wet pigment to bleed together. Ilarde’s collages also resist restraint, with the painted surface intentionally going past the borders of the support, and setting into wayward forms with sculptural potential.
far left; Argie Bandoy Hobo / Oil enamel on canvas 122 x 122 cm / 2014 left; Fauzulyusri Played / oil on canvas 123 x 456 cm / 2014 middle; Lyle Buencamino Money Face (MukangPera) oil on canvas 182 x 224 cm / 2014
below; Nilo Ilarde Paint Things 8 Oil on collage on pegboard 53.5 x 40.5 cm / 2013 far right; Norbeto Roldan Hornet / oil on canvas 123 x 456 cm / 2014
norberto roldan took his BA in Philosophy at St. Pius X Seminary, his BFA at the University of Santo Tomas and his MA in Art Studies at the University of the Philippines-Diliman. He has represented the Philippines in various international exhibitions in Asia-Pacific, Europe and the USA. He was represented in three landmark surveys of Southeast Asian contemporary art: New Art from Southeast Asia 1992 by the Fukuoka Asian Art Museum, Negotiating Home History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011 by the Singapore Art Museum and most recently, No Country: Contemporary Art For South/Southeast Asia by the Solomon R. Guggenheim Museum in New York. Roldan who works
and lives in Manila is currently artistic director of Green Papaya Art Projects, an independent multi-discplinary platform he cofounded in 2000 while practicing as a visual artist. His works are in the collection of Solomon R. Guggenheim Museum, Fukuoka Asian Art Museum, Singapore Art Museum, US State Department, Deutsche Bank, Ateneo Art Gallery, Banko Sentral ng Pilipinas, San Miguel Corporation, The Bencab Museum, Carlos Oppen Cojuangco Foundation, and private collections in Asia, Europe and the USA.
About the Artwork “Citing the influence of Joseph Cornell and Santiago Bose, Roldan juxtaposes objects, images, and textual fragments as a means to reject the idea of historical certainty and propose new social, political, and cultural narratives in its place. Often employing the material embodiments of various genres and themes in a single collage, Roldan harnesses poignant aspects of shared and personal biography. His assemblage In Search For Lost Time 1 / 2 / 3 / 4 (2010) has its origins in an article on Hitler’s Berlin apartment. Based on a conviction that the interior and furnishings of the dictator’s home offer no insight into the true nature of the man, the work
questions the importance of material culture in the study of anthropology. Roldan’s series of nine works titled The Beginning of History and Fatal Strategies (2011) was inspired by Jean Baudrillard’s essay “The End of History and Meaning,” which details the idea of historicity, arguing that globalization precipitated the dissolution of history and the collapse of progress. Each work is a collection of curios, old perfumes bottles, compact cases, amulets, and old photographs displayed in wood and glass cabinets, recalling a past that is fabricated by an attempt to create a sense of order from forgotten memories. Focusing on Baudrillard’s criticism of Marxist ideology as misguided fantasy, Roldan’s series itself presents no political judgment or conclusion, but seeks instead to simply pit history against reality.” (http://www.guggenheim.org)
zelin seah (b.1980, Malaysia) graduated with a BFA from the Birmingham City University in 2007 and has since participated in numerous exhibitions and residencies in Malaysia and around the region. He is critically acclaimed for his semi-abstract black and white depictions of the contemporary socioeconomic phenomenon with the usage of fragmented daily life space images. Zelin was an awardee for The Young Guns Awards 2013. His works were Jury’s Recommended choices at 14th Japan Media Arts Festival.
In 2014, Zelin was included in Malaysian Eye Book, and participated in Prudential Eye Zone at Saatchi Gallery, London. Zelin’s works are in the permanent collections of the National Visual Art Gallery Malaysia, Birmingham City University, United Kingdom and HOM Art Trans, Kuala Lumpur. About the Artwork This body of work represents the artist’s views on the relationship between contemporary art and its viewers. The haphazardly strewn fishing nets act as barrier that
intentionally disrupt the audience view of his paintings on the wall, thus questioning the accessibility of contemporary art today. This train of thought stems from the artist’s own learning journey— before pursuing his graduate studies overseas, he studied art through reproduced images from second or third hand sources. The paintings in this project are copies of imitations of Western masterpieces found on the internet. With every reproduction, the works are further removed from the original.
below; Zelin Seah Laocoon Version C Oil And Bitumen On Linen 180 x 160 cm / 2014
ARGI E BAN DOY FAUZ ULYU SRI LYLE BUEN CA NILO ILARD MINO E NORB ERTO ROLD AN
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ZELIN
KUALA LUMPUR
17 Jalan Pawang 54000 Kuala Lumpur Malaysia T +603 4251 4396 F +603 4251 4331 kl@taksu.com SINGAPORE
43 Jalan Merah Saga #01-72 Workloft @ Chip Bee Singapore 278115 T +65 6476 4788 F +65 6476 4787 sing@taksu.com BALI
W Retreat & Spa Bali Jalan Petitenget Seminyak Bali, Indonesia T +62 361 4738106 F +62 361 4738104 bali@taksu.com
SEAH
TAKSU is a leading contemporary art gallery and specialist in Southeast Asia. Representing selections of fine art with distinctive urban edge, we are at the forefront of contemporary art in this region. TAKSU works to forge a platform for established and emerging artists to share their pool of creativity and knowledge through its residency programs and exhibitions. Encapsulating the true meaning of the word TAKSU; divine inspiration, energy, and spirit. Suherwan Abu Director, TAKSU Galleries
Graphic Design Jeffrey Lim / Studio 25 Printer Unico Services Artworks & Images Š 2014 Participating Artists This publication may be reproduced in any form for academic, editorial and/ or non-commercial purposes without special permission from the artist(s) and gallery, with acknowledgement of the source. For other purposes, prior consent is needed.
A FA RG LY UZ IE N LE UL BA N ILO BU YU ND O RB IL EN SR OY ER AR CA I TO DE M IN ZE RO O LI LD N A SE N A H
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KUALA LUMPUR
17 Jalan Pawang 54000 Kuala Lumpur Malaysia T +603 4251 4396 F +603 4251 4331 kl@taksu.com SINGAPORE
43 Jalan Merah Saga #01-72 Workloft @ Chip Bee Singapore 278115 T +65 6476 4788 F +65 6476 4787 sing@taksu.com BALI
W Retreat & Spa Bali Jalan Petitenget Seminyak Bali, Indonesia T +62 361 4738106 F +62 361 4738104 bali@taksu.com
TAKSU is a leading contemporary art gallery and specialist in Southeast Asia. Representing selections of fine art with distinctive urban edge, we are at the forefront of contemporary art in this region. TAKSU works to forge a platform for established and emerging artists to share their pool of creativity and knowledge through its residency programs and exhibitions. Encapsulating the true meaning of the word TAKSU; divine inspiration, energy, and spirit. Suherwan Abu Director, TAKSU Galleries
Graphic Design Jeffrey Lim / Studio 25 Printer Unico Services Artworks & Images Š 2014 Participating Artists This publication may be reproduced in any form for academic, editorial and/ or non-commercial purposes without special permission from the artist(s) and gallery, with acknowledgement of the source. For other purposes, prior consent is needed.
OY ND I O A R B IN IE YUS AM G L C N AR UZU EN E DA U FA E B ARD ROL L LY O IL RTO L NI RBE NO
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